In 1979 Rosalind Krauss laid bare the root cause or conditions of possibility that led to the transitory shift to post modernism. Envisioned through a series of Klein diagrams, a mathematical model borrowed from the social sciences her seminal work proved an inspiring model. Last year preliminary post-graduate research posed the question "Where do our bodies begin and end in a networked world?" Adopting a similar approach to Krauss I examine the sociological shift in primary communication from the physical (face-to-face) to the virtual (text-messaging) across a pre/post digital timeframe. Focusing upon Maurice Merleau Ponty's concept of intercorporeality I reimagine, via what may be termed 'extended positioning', interaffectivity through the mapping of the affective dimension. The concluding position, presented at the AAANZ conference in Melbourne last year, continues to inform my research and creative practice.
{"title":"Materiality in Motion: Ecologies of Transformation","authors":"Lucy Boermans, Clovis McEvoy","doi":"10.1145/3325480.3329172","DOIUrl":"https://doi.org/10.1145/3325480.3329172","url":null,"abstract":"In 1979 Rosalind Krauss laid bare the root cause or conditions of possibility that led to the transitory shift to post modernism. Envisioned through a series of Klein diagrams, a mathematical model borrowed from the social sciences her seminal work proved an inspiring model. Last year preliminary post-graduate research posed the question \"Where do our bodies begin and end in a networked world?\" Adopting a similar approach to Krauss I examine the sociological shift in primary communication from the physical (face-to-face) to the virtual (text-messaging) across a pre/post digital timeframe. Focusing upon Maurice Merleau Ponty's concept of intercorporeality I reimagine, via what may be termed 'extended positioning', interaffectivity through the mapping of the affective dimension. The concluding position, presented at the AAANZ conference in Melbourne last year, continues to inform my research and creative practice.","PeriodicalId":415260,"journal":{"name":"Proceedings of the 2019 Conference on Creativity and Cognition","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122364410","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Visual metaphors are a creative technique used in print media to convey a message through images. This message is not said directly, but implied through symbols and how those symbols are juxtaposed in the image. The messages we see affect our thoughts and lives, and it is an open research challenge to get machines to automatically understand the implied messages in images. However, it is unclear how people process these images or to what degree they understand the meaning. We test several theories about how people interpret visual metaphors and find people can interpret the visual metaphor correctly without explanatory text with 41.3% accuracy. We provide evidence for four distinct types of errors people make in their interpretation, which speaks to the cognitive processes people use to infer the meaning. We also show that people's ability to interpret a visual message is not simply a function of image content but also of message familiarity. This implies that efforts to automatically understand visual images should take into account message familiarity.
{"title":"Human Errors in Interpreting Visual Metaphor","authors":"S. Petridis, Lydia B. Chilton","doi":"10.1145/3325480.3325503","DOIUrl":"https://doi.org/10.1145/3325480.3325503","url":null,"abstract":"Visual metaphors are a creative technique used in print media to convey a message through images. This message is not said directly, but implied through symbols and how those symbols are juxtaposed in the image. The messages we see affect our thoughts and lives, and it is an open research challenge to get machines to automatically understand the implied messages in images. However, it is unclear how people process these images or to what degree they understand the meaning. We test several theories about how people interpret visual metaphors and find people can interpret the visual metaphor correctly without explanatory text with 41.3% accuracy. We provide evidence for four distinct types of errors people make in their interpretation, which speaks to the cognitive processes people use to infer the meaning. We also show that people's ability to interpret a visual message is not simply a function of image content but also of message familiarity. This implies that efforts to automatically understand visual images should take into account message familiarity.","PeriodicalId":415260,"journal":{"name":"Proceedings of the 2019 Conference on Creativity and Cognition","volume":"75 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128704510","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
We investigate engaging a computer science conference audience in sketching responses to the event as it occurs. In particular, we explore the response to inviting those present to engage in what is essentially an off-line, co-located, attendee-sourcing experience. Sketchnoting is a popular practice for documenting events, but these sketched records can be limited in scope at multi-track conferences, and paid professionals can be unaffordable at smaller events. Our challenges included: working with an audience with little or no experience of sketching or working with imagery; who were unaware of the possible benefits; and whose attendee engagement was variable - with individuals often working on laptops rather than actively listening during sessions. In order encourage engagement we hosted a pre-conference workshop, developed a conference-specific set of visual icons, and created prompt materials. This resulted in a remarkable visual record of the event, and also an increase in active listening and engagement.
{"title":"Sketching Sustainability in Computing","authors":"M. Sturdee, S. Mann, M. Carpendale","doi":"10.1145/3325480.3325481","DOIUrl":"https://doi.org/10.1145/3325480.3325481","url":null,"abstract":"We investigate engaging a computer science conference audience in sketching responses to the event as it occurs. In particular, we explore the response to inviting those present to engage in what is essentially an off-line, co-located, attendee-sourcing experience. Sketchnoting is a popular practice for documenting events, but these sketched records can be limited in scope at multi-track conferences, and paid professionals can be unaffordable at smaller events. Our challenges included: working with an audience with little or no experience of sketching or working with imagery; who were unaware of the possible benefits; and whose attendee engagement was variable - with individuals often working on laptops rather than actively listening during sessions. In order encourage engagement we hosted a pre-conference workshop, developed a conference-specific set of visual icons, and created prompt materials. This resulted in a remarkable visual record of the event, and also an increase in active listening and engagement.","PeriodicalId":415260,"journal":{"name":"Proceedings of the 2019 Conference on Creativity and Cognition","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130900196","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Thomas Deacon, N. Bryan-Kinns, P. Healey, M. Barthet
This paper presents an observational study of collaborative spatial music composition. We uncover the practical methods two experienced music producers use to coordinate their understanding of multi-modal and spatial representations of music as part of their workflow. We show embodied spatial referencing as a significant feature of the music producers' interactions. Our analysis suggests that gesture is used to understand, communicate and form action through a process of shaping sounds in space. This metaphor highlights how aesthetic assessments are collaboratively produced and developed through coordinated spatial activity. Our implications establish sensitivity to embodied action in the development of collaborative workspaces for creative, spatial-media production of music.
{"title":"Shaping Sounds: The Role of Gesture in Collaborative Spatial Music Composition","authors":"Thomas Deacon, N. Bryan-Kinns, P. Healey, M. Barthet","doi":"10.1145/3325480.3325493","DOIUrl":"https://doi.org/10.1145/3325480.3325493","url":null,"abstract":"This paper presents an observational study of collaborative spatial music composition. We uncover the practical methods two experienced music producers use to coordinate their understanding of multi-modal and spatial representations of music as part of their workflow. We show embodied spatial referencing as a significant feature of the music producers' interactions. Our analysis suggests that gesture is used to understand, communicate and form action through a process of shaping sounds in space. This metaphor highlights how aesthetic assessments are collaboratively produced and developed through coordinated spatial activity. Our implications establish sensitivity to embodied action in the development of collaborative workspaces for creative, spatial-media production of music.","PeriodicalId":415260,"journal":{"name":"Proceedings of the 2019 Conference on Creativity and Cognition","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130881206","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Samuel Lau, Tricia J. Ngoon, Vineet Pandey, Scott R. Klemmer
Misunderstandings of science affect many lives. Novices commonly misunderstand explanations by overly relying on surface details instead of evaluating underlying logic. Prior work has found adding a patina of neuroscience leads readers towards positively assessing explanations. How might we help people better understand science explanations? A between-subjects experiment tested whether asking readers to reconstruct experiments leads them to focus more on underlying logic. Participants relied less on irrelevant surface details when reconstructing experiments. However, this did not impact their subsequent assessment of explanations. Our results suggest that reconstruction is a useful strategy for understanding explanations but is not readily transferred towards evaluating explanations.
{"title":"Experiment Reconstruction Reduces Fixation on Surface Details of Explanations","authors":"Samuel Lau, Tricia J. Ngoon, Vineet Pandey, Scott R. Klemmer","doi":"10.1145/3325480.3326582","DOIUrl":"https://doi.org/10.1145/3325480.3326582","url":null,"abstract":"Misunderstandings of science affect many lives. Novices commonly misunderstand explanations by overly relying on surface details instead of evaluating underlying logic. Prior work has found adding a patina of neuroscience leads readers towards positively assessing explanations. How might we help people better understand science explanations? A between-subjects experiment tested whether asking readers to reconstruct experiments leads them to focus more on underlying logic. Participants relied less on irrelevant surface details when reconstructing experiments. However, this did not impact their subsequent assessment of explanations. Our results suggest that reconstruction is a useful strategy for understanding explanations but is not readily transferred towards evaluating explanations.","PeriodicalId":415260,"journal":{"name":"Proceedings of the 2019 Conference on Creativity and Cognition","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129314487","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Honghao Deng, Jiabao Li, Xuesong Zhang, P. Michalatos
An essential function of architecture is to control the environment around us. In practice, interior climates are discretized into self-contained units, where wetness is designated to wet spaces, and dryness is kept to dry spaces. Contrary to nature's changing weather patterns, architecture is often static and binary, with no diffusion in between. As a result, weather conditions in nature are not experienced inside. Current installations using vapor geometries in architecture are limited to creative showcases. With Diffusive Geometries, we are proposing vapor as a medium to bring microclimates into architectural spaces. The unique characteristics of vapor as tectonic elements allow users to modulate visibility, create cooling gradients, and produce spatial patterns with three main elements: vapor vortex ring, vapor tornado, and vapor wall.
{"title":"Diffusive Geometries: Vapor as a Tectonic Element to Sculpt Microclimates in Architectural Space","authors":"Honghao Deng, Jiabao Li, Xuesong Zhang, P. Michalatos","doi":"10.1145/3325480.3329170","DOIUrl":"https://doi.org/10.1145/3325480.3329170","url":null,"abstract":"An essential function of architecture is to control the environment around us. In practice, interior climates are discretized into self-contained units, where wetness is designated to wet spaces, and dryness is kept to dry spaces. Contrary to nature's changing weather patterns, architecture is often static and binary, with no diffusion in between. As a result, weather conditions in nature are not experienced inside. Current installations using vapor geometries in architecture are limited to creative showcases. With Diffusive Geometries, we are proposing vapor as a medium to bring microclimates into architectural spaces. The unique characteristics of vapor as tectonic elements allow users to modulate visibility, create cooling gradients, and produce spatial patterns with three main elements: vapor vortex ring, vapor tornado, and vapor wall.","PeriodicalId":415260,"journal":{"name":"Proceedings of the 2019 Conference on Creativity and Cognition","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127712886","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Tabletop board games are a collaborative creative process that can benefit from new technical tools to augment game sessions. This demo is an interactive map creator made to create and display dungeon maps for people who play tabletop board games. It has an editing component for people to make maps, and a display component to view and interact with those maps. Users can engage with the demo on two levels, as a creator making dungeon maps, or as a player exploring them.
{"title":"Tool for Map Creation and Map Interaction During Tabletop Game Sessions","authors":"Emily Hery, Glenda Drew","doi":"10.1145/3325480.3326548","DOIUrl":"https://doi.org/10.1145/3325480.3326548","url":null,"abstract":"Tabletop board games are a collaborative creative process that can benefit from new technical tools to augment game sessions. This demo is an interactive map creator made to create and display dungeon maps for people who play tabletop board games. It has an editing component for people to make maps, and a display component to view and interact with those maps. Users can engage with the demo on two levels, as a creator making dungeon maps, or as a player exploring them.","PeriodicalId":415260,"journal":{"name":"Proceedings of the 2019 Conference on Creativity and Cognition","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"113984460","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Session details: Graduate Student Symposium","authors":"J. Crandall, J. Fritsch","doi":"10.1145/3340705","DOIUrl":"https://doi.org/10.1145/3340705","url":null,"abstract":"","PeriodicalId":415260,"journal":{"name":"Proceedings of the 2019 Conference on Creativity and Cognition","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122284213","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Session details: Session 3: Sound <== Performance","authors":"D. Long","doi":"10.1145/3340696","DOIUrl":"https://doi.org/10.1145/3340696","url":null,"abstract":"","PeriodicalId":415260,"journal":{"name":"Proceedings of the 2019 Conference on Creativity and Cognition","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126039280","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Nic Lupfer, A. Kerne, Rhema Linder, Hannah Fowler, Vijay Rajanna, M. Carrasco, Alyssa Valdez
We investigate new media to improve how teams of students create and organize artifacts as they perform design. Some design artifacts are readymade-e.g., prior work, reference images, code framework repositories-while others are self-made-e.g., storyboards, mock ups, prototypes, and user study reports. We studied how computer science students use the medium of free-form web curation to collect, assemble, and report on their team-based design projects. From our mixed qualitative methods analysis, we found that the use of space and scale was central to their engagement in creative processes of communication and contextualization. Multiscale design curation involves collecting readymade and creating self-made design artifacts, and assembling them-as elements, in a continuous space, using levels of visual scale-for thinking about, ideation, communicating, exhibiting (presenting), and archiving design process. Multiscale design curation instantiates a constructivist approach, elevating the role of design process representation. Student curations are open and unstructured, which helps avoid premature formalism and supported reflection in iterative design processes. Multiscale design curation takes advantage of human spatial cognition, through visual chunking, to support creative processes and collaborative articulation work, in integrated space.
{"title":"Multiscale Design Curation: Supporting Computer Science Students' Iterative and Reflective Creative Processes","authors":"Nic Lupfer, A. Kerne, Rhema Linder, Hannah Fowler, Vijay Rajanna, M. Carrasco, Alyssa Valdez","doi":"10.1145/3325480.3325483","DOIUrl":"https://doi.org/10.1145/3325480.3325483","url":null,"abstract":"We investigate new media to improve how teams of students create and organize artifacts as they perform design. Some design artifacts are readymade-e.g., prior work, reference images, code framework repositories-while others are self-made-e.g., storyboards, mock ups, prototypes, and user study reports. We studied how computer science students use the medium of free-form web curation to collect, assemble, and report on their team-based design projects. From our mixed qualitative methods analysis, we found that the use of space and scale was central to their engagement in creative processes of communication and contextualization. Multiscale design curation involves collecting readymade and creating self-made design artifacts, and assembling them-as elements, in a continuous space, using levels of visual scale-for thinking about, ideation, communicating, exhibiting (presenting), and archiving design process. Multiscale design curation instantiates a constructivist approach, elevating the role of design process representation. Student curations are open and unstructured, which helps avoid premature formalism and supported reflection in iterative design processes. Multiscale design curation takes advantage of human spatial cognition, through visual chunking, to support creative processes and collaborative articulation work, in integrated space.","PeriodicalId":415260,"journal":{"name":"Proceedings of the 2019 Conference on Creativity and Cognition","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133017104","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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